Panasonic has announced the GH5, the latest and much awaited member of their Lumix family. It shoots 4K 10bit 4:2:2 internal.
At Panasonic’s opening press conference at Photokina 2016, the Panasonic GH5 has just been announced. This much awaited follower to the very popular Panasonic GH4 comes with a list of very impressive features.
Panasonic GH5 – main features at a glance:
18MP Sensor
4K now available up to 60p
“6K photo”, up to 30p (apparently this is only a photo feature)
10 Bit 4:2:2
[UPDATE]: The 30p 6K info on the slide was incorrect. Apparently the camera only shoots 4K and does “6K photos”. We will update you with a video and all details about the GH5 in an hour.
Also, Panasonic has announced an increased line up of Micro Four Thirds lenses, with a wide 8-18mm, a standard 12-60mm, and a tele 50-200mm, all at f/2.8-f/4.0.
Good news all around, but Panasonic GH fans will have to wait just a little bit longer, as thePanasonic GH5 is expected to hit the market during the first half of 2017.
Soon it will be available for pre-order HERE.
Panasonic GH5 – Official Press Release
Cologne, Germany, 19 September 2016 – Panasonic today announces the LUMIX GH5, the world’s first[1] Digital Single Lens Mirrorless (DSLM) interchangeable lens camera capable of recording high-precision smooth 4K 60p/50p and faithfully reproductive 4:2:2 10-bit 4K video[2]. This premium camera will offer exceptional performance for professional photographers, videographers and emerging photo/video-hybrid creators.
The new LUMIX GH5 is scheduled to enter the market in the first half of 2017 and will feature Panasonic’s new ‘6K PHOTO’ offering – an approximately 18-megapixel-equivalent still image extraction from an ultra-high quality video with approximately 9x higher resolution than Full HD. Furthermore, an approximately 8-megapixel equivalent ‘4K PHOTO’ can be extracted from a video shot at 60 fps.
Panasonic also announces the new LEICA DG VARIO-ELMARIT F2.8-4.0 lens series. These announcements demonstrate Panasonic’s dedication to continually deliver outstanding customer value and new culture in photography and film production by developing premium, new-era products and functions.
Commitment to innovation
The LUMIX GH5 will allow creative minds to capture their vision with ease and style, and further confirms Panasonic’s commitment to develop incomparable products and functions to address the new demands in photography and film production.
Panasonic is committed to the development of innovative digital cameras under the theme “create a new photo culture in the digital era”. The company brought the world’s first DSLM camera, the DMC-G1, to market in 2008[3] and the succeeding DMC-GH1 achieved the world’s first Full HD video recording in 2009[4].
Professional, versatile 4K videography with freedom and ease
The LUMIX DMC-GH4 has received much critical acclaim since its launch in 2014 and was the first camera to realise 4K 30p/25p video recording[5]. Building on its predecessor’s success, the LUMIX GH5 will offer a new world first: 4K 60p/50p and 4K 30p with 4:2:2 10-bit.
Exceptional 4K video recording will be packed into a compact, lightweight design created for videographers to take the camera anywhere and shoot in any location. With the unprecedented video recording performance of the LUMIX GH5, Panasonic aims to elevate its status in the film production industry.

The Leica Lumix 100-400mm f4-6.3 — Panasonic’s latest addition to their micro 4/3’s line of lenses — will be the first super telephoto zoom of its kind when it starts shipping in a couple of months.
With release scheduled for March 2016, the Panasonic LUMIX G 100-400mm LEICA DG VARIO-ELMAR will offer the longest focal length native to the MFT system. The 100-400mm translates to a full frame equivalent of a whopping 200-800mm! Coming in at just under a kilo, the lens is relatively small and compact, in line with the micro four-thirds philosophy. As a quick comparison: the Sigma 300-800mm is over 5kg, as well as over 4 times the price!
The high-quality, Leica-designed optics include 20 elements in 13 groups including 1 aspherical, 1 UED, and 2 ED elements. Panasonic promises fast autofocus thanks to the 240 fps AF Drive housed within the metal body, which will feature a retractable lens hood, weather-sealing, and a rotary tripod mount with built-in lens switches. Thanks to this, no matter how you orient the tripod foot, the controls will remain in the same position relative to the camera. The switches include controls for auto/manual focus, as well as autofocus limiting to ensure even faster AF performance. The third switch activates Power Optical Image Stabilisation – quite necessary when shooting at these focal lengths. The IS works in tandem with Lumix bodies with in-body IS, such as the Panasonic GX8, resulting in Panasonic’s Dual Image Stabilization.
The 9 blade diaphragm will be capable of a variable aperture of f4-6.4. As a result, those action-stopping wildlife and sports shots the Lumix Leica 100-400mm is clearly intended for better happen in bright daylight.
Of course, a faster maximum aperture at the tele end would have been nicer, as the smaller sensor size of the MFT system needs all the light it can get. This shortcoming may be especially evident, considering you may be paying a premium for the Leica design. But we need to remember: building a zoom of these characteristics and features while keeping it light and portable is no small feat!
Due to its relatively affordable price and features—and no longer needing to use a third-party lens plus adapter for these focal lengths—this first true super telephoto zoom native to the micro four-thirds system certainly looks like a serious contender in its field. Its practical features and dimensions make it an ideal choice for shooters heavily invested in the micro four-thirds system.
The Leica Lumix 100-400mm is available for pre-order from B&H using the link below.
Wildlife photographer Daniel J. Cox had a chance to use an early version of the Leica Lumix 100-400mm lens on a test shoot recently and shared his thoughts via this video and in an extensive blog post that you can read here.

Genus unveiled a very interesting product at IBC. The prototype is an electronic lens adaptor that will remotely control your lens and most importantly, offers an electronic variable neutral density filter.
ND (or lack of) has been an ongoing saga in the compact camera body world. The DSLR filmmaker was highly trained in the fast operation of switching his/hers variable ND filter as they changed lens. This is a skill that has been carried through to the use of mirrorless cameras; camera manufacturers simply have not, and are not installing any kind of ND system in their compact stills/video cameras.
Third party companies have tried everything to solve this issue; we’ve seen fader NDs, lens adaptors with in-built filter wheels, magnetic lens threads that enable fast mount and remove of filters; there hasn’t been a definitive solution. With the sensitivity of mirrorless camera nowadays, this issue is more apparent than ever.
Genus have a working prototype that looks very interesting indeed, a remote control adaptor with inbuilt electronic variable ND. Our friends at newsshooter.com took a closer look at the new product:
To be clear, this is a prototype. The black box that the adaptor currently sits on will not make the final cut; this is merely proof of concept.
The ND works using a liquid crystal display that when voltage is applied you can accurately dial in the level of ND.
We’ve seen the same kind of technology being implemented in the new Sony FS5 camera that works with a variable electronic ND system as well.
Genus make a point of this not simply being billed as an electronic ND; it is a remote control lens adaptor. This means you can adjust the aperture and focus of the lens remotely, which is very useful where you can’t reach your camera (drone, crane) and/or you camera doesn’t offer any native wireless support for such features.
Little is given away by Genus in the above interview at this point. It sounds as if they’ve had some issues with color shift (as with many variable ND systems) and won’t disclose anything on sharpness (or reduction of).
The ND will be effective around 2 to 12 stops, the prototype is adapting Canon EF to Sony E mount, a very popular conversion in this sector however the interview leads reason to believe that other adaptors will follow.
Genus are hoping to launch the product by BVE 2016 (February) if not by NAB 2016 (April).
via/NewsShooter

Metabones has announced a new Speedbooster adaptor specifically for the Panasonic GH4 that will convert its micro four thirds sensor into super35mm in 4K mode, and APS-H in 1080 mode.
Metabones original Speedbooster announcement was revolutionary, breathing new life into smaller sensors by increasing their field of view, light sensitivity and sharpness.
0.71x was the magic number, this level of magnification increases super35mm cameras like the FS100 and FS700 into full frame, opening a whole world of new opportunities including sub f/1.2 apertures and for the first time, Full Frame 4K video.
Towards the end of 2013 Metabones advanced further with Speedboosters specific to the Blackmagic Cinema Cameras. These provided much wider fields of view on both Pocket and Cinema version of the Blackmagic cameras. It was the first time Metabones included a new magnification increase in their speedboosters; 0.58x and 0.64x respectively.
Move to present day and Metabones has announced a new Speedbooster specifically for the Panasonic GH4. It to benefits from a 0.64x magnification, providing the flagship mirrorless camera with a very attractive x1.5 crop factor at 4K.
This brings the GH4 right inline with super35mm; the original x2 crop factor* was a stumbling block for many, as negotiating a completely new lens line or crop factor for current collection was both frustrating and expensive.
*Crop factor of x2 applying to 1080 mode on the GH4, not 4K.
As many well know, the Panasonic GH4 has two crop modes, one for 1080 and one for 4K, which are x2 and x2.34 respectively. Whilst the new Speedbooster provides 4K mode with a super35mm crop factor, it goes one further in 1080 mode offering a near APS-H crop factor of x1.28 (Canon 1D territory).
As expected from a new Metabones adaptor, the GH4 EF Speedbooster XL needs no additional power, carries focus, zoom and aperture information, as well as powering Image Stabilization for compatible lenses; like many (if not all) new Metabones adaptors it uses high quality patent pending Caldwell Photographic Optics.
Speaking of optics:
“The Speed Booster XL 0.64x uses an advanced 6-element optical design to achieve extraordinary optical performance at apertures up to an incredible f/0.80, a new record for Micro Four Thirds format.”
The 1.33x stop increase is highly impressive; it will convert an f/1.2 prime into an astounding f/0.80.
To calculate the new field of view of your lenses, simply multiply the focal length by the new crop factors in each respective GH4 mode (1.28 in 1080, 1.5 in 4K). For example, a 50mm lens will become 64mm in 1080 mode, and 75mm in 4K mode.
Here is the specification list of the GH4 Speedbooster XL
Magnification: 0.64x
Crop Factor for Full Micro Four Thirds format: 1.28x
Crop Factor with GH4 in Cinema 4k (4096 x 2160) Video Mode: 1.5x
Maximum Output Aperture: f/0.80 (with f/1.2 lens attached)
Rectilinear Distortion: < 0.8%
Lens Elements/Groups: 6/4
Length Reduction: 6.2 mm
Camera Mount: Micro Four Thirds
Lens Mount: Canon EF (EF-S not compatible)
Image Format: 17.3 mm x 13.0 mm (full Micro Four Thirds format)
Despite the Speedbooster XL being marketed as an adaptor for the GH4, it will fit a host of other mirrorless cameras, the table below highlights fully compatible cameras in green:
Metabones state that others (including some of the above listed in red) may work, the physical connection between adaptor and camera will always mate if your camera has a Micro Four Thirds lens mount. However only the above listed in green will be compatible without any mechanical clashing of the adaptor and shutter/shutter cover.
By opening up the sensor to super35mm size and increasing the light sensitivity by 1 and 1/3 stop, the Metabones Speedbooster XL really makes the GH4 a whole different camera.
Users migrating from other cameras with a large EF lens collection have a much simpler transition, and super35mm users now have another credible option as a B or C camera that isn’t worlds apart in terms of crop factor or light sensitivity.
The GH4 Speedbooster XL is priced like many popular, new Metabones adaptors at $649.

CAME-TV has announced a new compact gimbal. The CAME-Single is their smallest stabilizer to date, designed for single hand use and cameras up to 1kg.
The gimbal stabilizer has been revolutionary in the filmmaking industry. Whilst a handful of features and price points separate each one, the design of them is generally quite similar; a crossbar with handle and under slung 3-motored carriage.
The CAME-Single shakes things up; it’s one of the few to utilize a single-handed approach. One handle with the camera carriage and motors residing above; this makes the CAME-Single very lightweight and very compact.
This isn’t the first time we’ve seen this form factor for a gimbal stabilizer. The Feiyu FY-G3 is very similar in design but built specifically for the GoPro, CAME-TVs closest competitor is the Nebula 4000. What does the CAME-Single offer that others don’t?
Firstly, the CAME-Single is compatible with camera setups up to 1kg. This extends the reach past a GoPro and will be suitable for mirrorless cameras like the Sony a7S and Panasonic GH4.
It markets itself as a tool-less gimbal; it requires no tools to setup and adjust the CAME-Single. I can see why this is a big selling point against the Nebula, but even more so would be its joystick on the handle for gimbal direction control. Couple that with a promised battery life of around 10 hours and you have a quite an attractive package.
As well as the joystick, you can also control the gimbal by physically moving the camera carriage. Simply move the camera into the desired position and hold for 1 second, the CAME-Single will remember this point and keep this angle until changed.
There is also an easy access on/off button on the side of the handle. Without using the device first hand I couldn’t confirm exactly how useful this is. But immediate thoughts are it is almost too easy to access/accidentally press.
Below is a video of the CAME-Single in action. The audio is poor and there was clearly no rehearsal for switching the gimbal between setups, but you get the idea:
There was a second video that highlights the features of the CAME-Single, but it will be easier simply list them below:
CAME-Single Specifications:
3 Axis, joystick control. Updated 32bit boards
Tool-less balancing
Weighs 1.2kg
Max Payload 1kg
10 hours battery life from X2 18650 Li-ion 2500MAH 3.7v batteries
1/4 20″ thread on bottom
Unlike the above video, the final version of the CAME-Single will be in black.
The prospect of a simple, single-handed gimbal is very exciting for certain genres of filmmaking. The ability to have compact, fuss free stable footage is vital in run and gun scenarios (news, live events, documentaries, weddings).
I’d be very interested to check out the CAME-Single when it is released. Pre-orders are available now and the device is currently retailing at just under $890. LINK
The CAME-Mini 2
In other news from CAME-TV, they’ve also released The CAME-Mini 2, a tool-less update to the CAME-Mini:

Today Panasonic announced a new camera, and it’s a bombshell. The Panasonic G7, like its big brother the GH4, shoots 4K video… at a whopping introductory price of $800.
But just how does the G7 compare to the GH4? Well, besides the ability to record 4K there are some similarities. Both are Micro Four Thirds cameras. Both have an ISO range of 200 – 25600 (Extended range is 100 – 25600). And both use SD, SDHC, or SDXC memory cards. But for half the price it’s obvious that the G7 won’t have all of the features of the GH4:
Panasonic G7 vs GH4
4K Video: The G7 will not record DCI 4K (4096 x 2160). It can handle UltraHD (3840 x 2160) up to 30fps (100Mbps).
File Formats: No .MOV recording. The G7 only records to MP4 and AVCHD.
Video System: PAL or NTSC recording (region restricted. Not a world camera)
Bit Rates: 100 Mbps max bit rate. The GH4 can record up to 200 Mbps on some file formats
Video Clip Length: 29 Minutes, 59 Seconds is the max recording time. The GH4 can record for up to 220 minutes.
Shutter: The G7 is a mirrorless camera and features an electronic shutter for silent recording. It also has a mechanical shutter like DSLR’s.
Other Video Features: The G7 does have Cinelike D and V picture styles like the GH4, but does not have other professional features like timecode, colour bars, audio tones, zebras or headphone jack.
There are a couple of other features about the G7 worth noting. It weighs 14.64 oz, has an OLED viewfinder, a flip out 3 inch LCD screen, an internal mic and external mic input, and a 4K burst photo mode that can shoot 8 MP stills at 30 fps for up to 29 min. 59 sec.
This camera lacks some of the features that makes the GH4 so attractive. But it’s still an amazing camera, especially when you consider the price point. The G7 with 14-42mm lens (35mm equivalent: 28-84mm) will sell at roughly $800. Another kit with a 14-140mm lens (28-280mm) will sell for around $1100.
So, a 4K video camera that weighs less than 1 pound and costs less than $1000. This looks to be a great option for those looking to buy their first camera, but also a good B camera for those already shooting on the GH4.
The camera is expected to ship at the end of June. For now, check out this video shot on the G7:
Specs
Lens Mount: Micro Four Thirds
Pixels: 16 MP
File Formats: MP4, AVCHD
Memory Cards: SD, SDHC, SDXC
Video System: NTSC or PAL (region restricted)
Video Format (for NTSC region):
UltraHD
MP4
3840 x 2160p / 30 fps (100 Mbps)
3840 x 2160p / 24 fps (100 Mbps)
High Definition
MP4
1920 x 1080p / 60 fps (28 Mbps)
1920 x 1080p / 30 fps (20 Mbps)
High Definition
MP4
1280 x 720p / 30 fps (10 Mbps)
Standard Definition
MP4
640 x 480p / 30 fps (4 Mbps)
High Definition
AVCHD
1920 x 1080p / 60 fps (28 Mbps)
1920 x 1080p / 30 fps (24 Mbps)
1920 x 1080p / 24 fps (24 Mbps)
High Definition
AVCHD
1920 x 1080i / 60 fps (17 Mbps)
Video Clip Length: Up to 29 Minutes 59 Seconds
Audio Recording: Built-in Mic, Optional External Mic
Display Screen: 3″ LCD Touchscreen Swivel
ISO: Auto, 200-25600 (Extended Mode: 100-25600)
Weight: 14.64 oz

Cinemartin, based in Spain, is known for Cinec, a PC-based professional transcoding software that can handle HVEC H.265 and ProRes among many other codecs. Now they surprised us with the announcement of their very own 4K recorder! Interestingly the NEXT 4k is actually a full fledged Windows computer that runs their conversion software to record 4K feeds up to 60p.
The company advertises their portable computer / 4K recorder as a tool that has many surprising features, like 1TB internal hard-disk, 4 USB ports, and it allows you to edit right on the device, running Adobe Premiere for example and upload results via WiFi.
Mind you, not many might actually use the disk recorder as an editing device, but as a feature it seems kind of cool doesn’t it?!
The Cinemartin NEXT 4K supports transcoding to a number of codecs: Uncompressed, DPX, ProRes, H.265, DNxHD, Mjpeg and can handle 8 or 10-bit as well as 3D frame packing. It seems it can only record to Uncompressed, MJPEG, DPX.
Among 4K recorders it has become a habit they include a monitor. This one has a 500 nit bright display, 6.7″ screen size. The device itself is not too small at 185x180x40mm, it actually seems quite bulky for a recorder / monitor.
They didn’t disclose its weight in the press release. This might be due to the customisable nature of the device as “NEXT is available in different models from OEM to complete kits plus custom builds, based on different digital inputs/outputs, processor, memory, ssd, battery kits, windows license, etc…“.
Features at a glance:
Up to 4K UHD record at 60P (High end model) and up to 30P and 4K DCI 25P other models
4:2:0, 4:2:2 and 4:4:4
3D recording and playback
8 & 10 bit
USB 3, hdmi and 6G SDI input
Record in Uncompressed, MJPEG, DPX
Transcode to Cinemartin, Prores, DNxHD, H264, HEVC H.265
Other resolutions: 1080p, 720p
Compatible with “almost any professional SDI and HDMI camera“
The Cinemartin NEXT 4K starts at about 1,200€ (inc. Spanish tax) and up to 4,800€ depending on the specs you choose and it will be available in Mai.
To find out more about it or pre-order, head over to the Cinemartin website.

Panasonic announced a GH4 firmware update that will provide a new anamorphic video recording feature. Users will now be able to use anamorphic lenses once the update is released in late April.
The anamorphic mode will enable 4×3 aspect ratio recording at a resolution of 3328 x 2496. Users will have control over the recording format, birate and luminance. The camera will also output 4:2:2 10-bit video at a 4:3 aspect ratio over HDMI, but in order to fit the height constraints of standard 4K footage it will be downscaled to 2880 x 2160 with black bars on either side.
The GH4 firmware update Version 2.2 is coming in late April.
GH4 Anamorphic Recording Specs:
Resolution: 3328 x 2496
Frame Rates: 23.98, 24, 25, or 29.97 fps
Output Signal: 4:2:2 10 bit HDMI (downscaled to 2880 x 2160)